In Defense of Actors

        In Defense of Actors

       

                            

In the past few months I’ve found myself in the acquaintance of a great many non-actors. Actually, non-entertainment industry…ers but, well, interestingly, acting seems to be the area where are they have most pre conceived notions. 

In fact, acting seems to be the area where most people, industry (a term for those in the entertainment business) or not seem to have the greatest pre conceived notions about the entertainment business. A, to be honest, rather shocking experience I’ve had post Twilight: The Unauthorized Musical Parody is of walking into a room of industry members and getting a completely different response depending on whether I’m introduced first as an actor or a writer. If introduced as a writer I am immediately assumed to be intelligent, savvy, and generally on an equal par with those in the room. If introduced as an actor I am dumb, naïve, unknowledgeable about business in any way, and nothing more than a “pretty girl.”

A disclaimer here – this is certainly not ALWAYS the case. I have many wonderful friends, both industry and not for whom this couldn’t be further from the truth. But sadly, in the past nine months especially, I have come to experience this more and more when I meet new people. And I felt it was time to address it.

A note: The “actor” I am using as a paradigm here is, what I consider to be, a typical New York working actor – someone who is, or is on the way to being successful in their field. In general, if you’re acting, you’re an actor – so I think this should be the litmus test for the issues below. I will occasionally address the “green” actor, or LA actor – I grew up in LA, and made my acting debut at five, so, while I mainly live and work in NYC now, I feel more than qualified to comment on the LA demographic – and yes, I think there is a difference to be taken into account.

These are the stereotypes I hear most commonly perpetuated:

 Actors are crazy, self-centered, overly emotional drama queens with potentially huge     psychological issues.

In reality, I think actors are some of the most well-adjusted, self-knowledgeable people on the planet. What do you think we do in acting school? Aside from technically developing our “instrument” (our bodies, and voices,) acting class is basically one giant psychology course – intensely studying both yourself, and the rest of the world. No, I didn’t say therapy session, though there is often crying involved. I said psychology course. Notice how the number one major (for those actors who choose to study something else in college,) secondary major, or minor for actors in college is psychology. Heck, even if you do think of it as therapy – it’s therapy where the patient comes out the other side incredibly self aware, and empathetic. Not committed to an institution.

One thing you can never really say about actors is that we’re repressed. We all have issues, but actors generally know what they are, and have good ways of dealing with them. Actors cry, we laugh, we get angry, because at the end of the day our job description – the thing we get paid money to do, is to get onstage, or in front of a camera and experience those things for YOU. The audience. Our job is to get you to experience YOUR sadness, YOUR joy, YOUR anger. And we can’t do that without being in touch with our own. We have to get up in front of hundreds, if not thousands of people, and just BE. Let people look at us. Become vulnerable. Show those things to strangers that they may not be comfortable even showing to themselves. If we weren’t well adjusted, we’d be locked away.

So in order to do that onstage, we have to be comfortable with ourselves in real life. That means we often experience life in big ways. We may be that friend who always laughs loudest at a funny movie, or lets others see us cry when we’re upset. It doesn’t mean we’re a “drama queen,” and it certainly doesn’t mean we’re faking emotion. It means we’re comfortable being in touch with it. And yeah, that can be off putting. I wouldn’t want to be a non-actor at an actor’s party. But think about what we have to do every day. We have to confront our own pain in the face – in rehearsal, in front of strangers, for some even in the national, or world spotlight. Yes, sometimes we may need some hand holding in rehearsal. We may need you to be sensitive of our feelings. Because that’s what we’re being asked to do – FEEL all day long. Think about it.

I think there's a general assumption that being emotional and being intelligent are mutually exclusive. Either you're ruled by your heart, or your head. Since actors are associated with being emotional the same way, say lawyers are associated with being intellectual (and if we were having this same discussion about breaking down lawyer stereotypes we would be making the case for them not just being thinking heads. Seriously - in the musical "Legally Blonde" there's a lyric that goes: "Don't lawyers feel love too? Even if they do...") Actors are not unthinking wells of emotion. And we couldn't act if we were. We're in touch with our emotions, we're comfortable with them, but we're not ruled by them. We craft them. We're analytically emotional. Usually the first week at least of rehearsal is dedicated to what we call "text analysis" - literally intellectually analyzing the text and making conscious choices about what the character is feeling, and doing, and what we need to do to bring that across. It requires a great deal of empathy, yes, but also intelligence. 

Regarding the psychological issues – no way. I don’t think you can have deep psychological issues and be a healthy actor. That’s not to say you can’t be deeply emotionally scarred, and severely traumatized. Perhaps those people who have experienced something incredibly painful and emotional are more in tune with it, and have a need to explore it. But there are many other people in other professions who have experienced similar things, and deal with it in different ways.

Yeah, sometimes we can create drama. But so can everyone. Theater drama can’t be any worse than office drama. And most of the time things are rather calm in our real lives. I mean we have enough drama onstage. Getting all that drama out onstage sometimes means that our personal lives are far more calm, peaceful, and well adjusted then the average person. I said sometimes…

                                    Actors are vain, and obsessed with their looks.

                                              

Here’s the thing. I admit - if you invite me over for a party I will totally be that prat who doesn’t partake in dessert. But it’s not because I’m totally obsessed with being “hot,” it’s because I care more about succeeding in my career then getting to do everything my friends do. Believe me, I love chocolate. My mom (among her many other talents) is a gourmet cook. I make a mean cardamom coconut dark chocolate cupcake. But that’s only happening on VERY special occasions. Because the harsh truth of the matter is – if you’re an actor, you’re judged every day on how you look. It’s just a fact of life. And I don’t mean that everyone has to be skinny – I have a friend who played Tracy Turnblad in Hairspray and had to really work to maintain, and even gain weight for the role. In general, I do think the entertainment industry has gotten slightly better with regards to representing different kinds of bodies, and beauty in general, but the fact of the matter is, if you don’t look a certain way, you don’t work, and that usually means being thin, and really fit. But that doesn’t come from the actors – that comes from everyone around us. Agents, casting directors, directors, producers, heck, even corporate sponsors. The fact is, being an actor is like being in advertizing, only the product being sold is – YOU. If you watch Mad Men think of all those meetings where they talk about redesigning an ad, adjusting a product, using a different color background, going with a different “style.” Yup. That’s you. Everything from your hair color and cut, to your weight, to the clothes and make-up you wear affect your ability to be hired. At several theater conservatories, on the first day of senior year guys are told to gain thirty pounds of muscle, and girls are told to loose thirty pounds before the senior showcase.

Sure, there are actors who truly think they’re “all that”  - but that’s a human problem, not an actor problem. Most actors are concerned about their looks to the degree that it’s just something they have to maintain for their job.

This is where I have to offer a disclaimer. I think this issue is one of the big differences between NY and LA actors. Again, I’m making a generalization, but hear me out. In NY, most of the acting jobs available are theater related. And most of those are in the musical theater category. To be onstage, you MUST have some degree of talent. You just have to. You are up there eight times a week, and you have to be good. This is even more pronounced in musical theater. Sure, people get cast because of how they look, but at the end of the day you have to be able to sing and dance well, and there’s no getting around it. In LA, most of the work is TV and film related, where it is possible to get a decent performance out of someone with no skills whatsoever thanks to the wonders of editing, and retakes. I don’t consider these people serious actors, but the fact remains that serious actors are going to have to compete with them for jobs – in which case getting cast will COMPLETELY depend on how they look. Imagine if to get a job as a teacher, or a lawyer, or a doctor your looks were taken into account, sometimes ahead of your qualifications. Yeah. In general I would say this makes most actors, at least somewhat insecure about their looks. Not vain. There’s a reason we take so long to get ready for an audition. And it’s not because we like to. We’d far rather be able to go to an audition with no makeup, wearing sweats, and get to be judged purely on our technical abilities. Not the way we look.

                                                                 Actors are dumb

                         

Actors are not dumb. Non-actors who want to be famous frequently are. I feel like this stereotype comes from the fact that actors are almost always hired to fill a pre prescribed role. Often they’re not a creator on a project. They audition, are hired, and then are told what to do. Therefore they get a reputation as someone who needs to be held by the hand, ordered around, and are basically on par with a trained puppy. That’s a difficulty of the situation. Not our intelligence level.

In fact, unless you’re dealing with a really great director, our opinion is often of no importance. The show has already been created by the time we come on board, and if there’s something that needs to be changed, well, the creative team already has a rapport, and a history with the show and, since most actors are not writers or directors, their opinion is more apt to slow down the process. Not to mention the fact that there is typically ONE writer, ONE director, ONE composer, and DOZENS of actors. Theater is not a democracy. If it were, no show would ever open.

That means actors often can’t be outright smart. Sometimes, we have to be subtle.

Lets take into account, for example, those shows every actor has been a part of where one, or often, several members of the production team don’t know what they’re doing. I’ve had directors who refuse to set blocking, don’t show up to rehearsal, or down right haven’t even read the script. (MAJOR note: I’m talking about obvious, indisputable incompetence. This is not to be taken as an axiom that whenever you don’t like a director, you should assume they’re bad and do your own thing. That’s being an incompetent actor.) In those cases the actors are directing themselves. That takes mad skills, and great intelligence to pull off.

A potential grey area here are “green” actors. “Green” actors are actors who do not have much experience in the business. Typically they are fresh out of school and, though they may be talented, don’t really know the ins and outs of the business yet. In the most stereotypical sense, these are the girls who show up for a shady casting session in some guy’s living room where there’s nothing but a couch and a video camera, not realizing that something might be off. Yes, at one time we were all green. We may not have all been naïve (especially about a casting call in a shady apartment), but we were all innocent when we started – and that’s true of anyone starting out in any profession. The bottom line is: innocent does NOT equal stupid. If it did, you'd have to say most people under the age of fourteen are stupid. And (while some may claim they are,) I don’t believe it’s true. We all learn the ropes sooner or later. If we were stupid, we never would.

Actors know how to save and invest money. Often they start a retirement fund well before their non-actor peers. They know how to live frugally (one of my friends joked after the economy crashed that actors would be the only ones to make it through because they were the only demographic with true survival skills.) They are emotionally generous, and know that there are more important things in life than financial success. They read. They frequent libraries. They are culturally and artistically educated, and savvy, and have probably seen more art than any other population demographic (between research for a role, or audition, going to see their friend’s work, exploring the underground art scene, or simply wanting to feed themselves artistically they probably come the closest to seeing every theatrical production in a given area, not to mention films, art exhibits, dance shows and concerts.) In their heads they hold some of the greatest writing of all human existence, and more music then any ipod. They understand contractual negotiations. They know when to share a kernel of wisdom, and when to keep silent. They can convincingly play the most intelligent people in the world, not to mention convincingly pretend to have the most intellectual jobs – understanding the jargon, and basic operating procedures of lawyers, doctors, scientists, and presidents. To be a true actor you must be knowledgeable about, literally, everything.

You can not be a true actor without being intelligent. 

Except for some very talented, successful, well-known actors, most actors are “starving    artists” and need to grow up all ready and get a real job.

                                                  

I’ll make this short and sweet. There are a lot of non-famous actors who are very much working actors. Regional theater, tours, small roles in TV and film – out of these careers can be made. Yes, there are starving artists. Jonathan Larson was one. Katy Perry, Jim Carrey, and many, many others were too. Some wait decades for their big break. Some, like Larsen never make it in their lifetime. But thank God they stuck it out!

Just because our culture doesn’t support the arts the way it ideally should, doesn’t mean that we should consider a career in the arts a pipe dream. Can you imagine if every struggling artist just gave up? The world would be a miserable place. And we’d have a lot of depressed businessmen. It IS possible to have a career in the arts. It’s not always possible to be Angelina Jolie.

                      Seriously, how hard can it be? Practically anyone could do it.

                                           

You try it. Seriously. Go take an acting class. Go audition for a local theater. Oh, and be really good.

Statistically it is more competitive to get into Clown College then to get into Harvard. Many theatrical conservatories have classes of about thirty students. TOTAL. I hold a degree with high honors from New York University. In drama. I still study, and train daily. I’ve also had over twenty years of practical experience on stage, and in front of a camera. I’m not unusual. All professional actors have trained to be able to do what they do.  I truly think everyone has some artistic capacity. But lets just say it’s called a craft for a reason.

OMG! I love my cast! They’re totally like my family! I don’t know what I’m going to do if I don’t see them everyday! OMG!

                                                                     

                                     

Yup. A lot of times it’s true. Deep in your gut, no joke, true. And I know – it’s easy to poke fun at from the outside.

In the best circumstances, casts bond. It’s necessary. And yes, it can happen insanely fast. And it has to. That doesn’t always make it shallow or insincere. Performing is dangerous – physically and emotionally. I will be called upon to perform stage combat, fall in love, mourn, and celebrate with people I met two hours ago in a rehearsal room. Part of what we are trained to do as actors is to keep each other safe. Acting is reacting – and we are constantly aware of what’s going on with our acting partners. Actors also tend to be sensitively aware of other people. We know when someone’s not ok. Our partners allow us to be emotionally raw – not only without judgment, but with support and encouragement. Often that spills over into us sharing things about our personal life off stage.

This certainly doesn’t mean we always fall in love with our onstage love interest – that would be as ridiculous as saying we always despise our onstage nemesis. In fact, I know I personally am often closer with my onstage rival in real life. Playing that kind of relationship sometimes takes MORE trust.

A note regarding my comment about acting being physically dangerous. I would NEVER do anything truly dangerous onstage. I believe in safety no matter what. Never the less, I have been “drowned,” killed, and seriously assaulted onstage. And it takes a great deal of trust to be able to execute such things safely. Especially eight times a week.

Cast members are also all learning together. We may be trained actors, but usually we are all learning these lines, chords, and steps together. We struggle, and succeed together. We often spend more time together then we do with our families. We see each other every single day during the run of a show – and during rehearsals we are stuck with each other all day long. For weeks. Even months. Sometimes in a new town, state, country or even continent. Either we’re going to hate each other, or come to deeply care for, and rely on each other.

And - this is getting into tricky territory – it is true that many artists come from difficult, or sometimes non existent family situations (see comments on emotional trauma above.) Cast members really can become family. Yes, of course it’s often the case that cast members become close on a show, only to never see each other again, or to only reconnect when they happen to be cast together again. But I don’t believe that in the moment cast bonding, whether it lasts or not is insincere. Sometimes it’s just creating the bond of trust you need to successfully do the show. Sometimes it’s a long-term connection. All I know is that there are some actors I’ve worked with who have become my family in the truest sense of the word. I consider them my brothers, sisters, aunts and uncles. I call them in a crisis. We’ve shared life events. I’ve never had a “showmance” (a romance that only lasts for the life of a show. Sometimes less…) But I have found my adopted family in rehearsal rooms. Even people I bonded with on shows who are not a daily part of my life retain that sense of trust and connection – and I would love to reconnect and jump into another project with them. Actor bonding may sound like fluff, but there’s nothing insincere, or shallow about it.

                                           I wanna be an actor ‘cause I wanna be famous!

                                                          

Lets just say, there are a lot easier, and faster ways to become famous then becoming a serious actor. No one suffers through being a starving artist purely to be famous.

And for anyone whose sole goal IS being famous – I feel sorry for them. I have worked with famous actors. I’ve experienced it by proxy. It’s far from fun. I liken it to this: If you’re a judge, you go to work, put on your robes, and become a “Judge.” Then at the end of the day you take them off and get to go home and be yourself. When you’re famous – the “robe” never comes off. Remember the idea of actors being their own product? When you’re famous – you’re a walking commodity. And you never get to take off the mask. Yes, it’s wonderful to be respected and lauded for your work. But being famous is another animal entirely. It can potentially come with the job, yes. But it’s not the spoils. It’s the challenge to overcome.

The theatrical community is a hotbed of moral depravity. Actors are sluts, and alcoholics. No child of mine is going into the arts!

                              

 This has been a stereotype since the dawn of theater. Yeah, there’s inappropriate behavior. AND highly moral behavior. Just like everywhere. Going into the arts will not make you an immoral person. And don’t use it as an excuse to keep your child out of the arts. Instead, help them develop deep values that won’t be affected no matter where they go, or what they do. Besides, if there IS immorality in the arts – don’t we need more people of integrity to go into the field?

In conclusion….

Yes, there are unintelligent actors, just like there are unintelligent – everythings! But I beg you – in the future when dealing with actors, assume intelligence until proven stupid. Not the other way around. Whether you’re in the industry, or even just at a party where your waiter happens to be a struggling actor. Treat them with respect. They are probably smarter, and hold more credentials then many of the guests. They have taken up a noble crusade – and if it weren’t for them, there would be no theater, film, or television. One of the tragic things I’ve noticed, that so far has gone unmentioned, is that actors are the one artistic demographic that will most likely never be in the position of being able to give someone a job. Writers create projects that will employ entire production teams, and casts of actors. Directors, producers, almost everyone else can get you a job. But not an actor. Unless they’re well known, there’s no reason to network with them. So they are often treated as insignificant. But actors are creators too. One only has to spend five minutes in a rehearsal with poorly cast actors to know that they carry every bit as much weight as a writer, or director. We know what we’re doing. Trust us. 

The "Once Upon a Time" spec

                                                         

Hi everyone! So, this entry is taking a slightly different form. A few months ago I submitted a spec script to ABC for their wonderful show "Once Upon a Time." I've gotten several requests from fellow "Once" fans to read the script - which is based on "The Little Mermaid." So, I've decided to post it. There's really no artistic pontification here, but it might be somewhat interesting to see a spec draft, and learn a little about the TV writing process. In the theater community - "spec" isn't nearly as well known a word as it is in Hollywood. IMPORTANT NOTE: THIS IS NOT AN ACTUAL SCRIPT FROM THE SHOW. And please note, this script IS COPYRIGHTED.

For those of you who don't know, writing "on spec" means you're writing, in essence, as an audition, not for money. The producers are basically trying you out. In film, as one example, this may mean writing a draft (or rewriting someone else's draft) to see if you're the writer they want to go with. In television, this means writing an episode of a well known, currently running TV show. Occasionally, more in comedy than drama, your script may be bought, or "picked up" and actually filmed and put on the air. This is also more likely with shows like "Law and Order" which, while they have some through line plots typically have episodes that stand alone. (Basically, if you can tune in for a single episode and follow the show - having a spec picked up is a possibility. For a show with a complex, multi episode arc (think "Lost") this is VERY rare.) However, studios like to see if you can write for established characters, work within the world of a show, etc. So many TV writers have several spec scripts they can send to studios as their "audition" - the ultimate goal being to be hired as a member of a writing team for an established, or new show. Yes, while every TV show has principle "show runners" (the people/person who created the show, and serves as primary writer, and all around authority on a given show) there are also a whole team of writers who alternate writing episodes. When I heard ABC was accepting scripts, well, I couldn't resist messing with my favorite fairy tale, in one of my favorite shows.  Even just for fun.

Some screenplay vocab:

INT. = Interior (i.e. the interior of a bookstore)
EXT. = Exterior
O.S. = Off screen (i.e. voice over)
Lines in italics are "stage directions"

There are different screenplay formats - this is the one I prefer. Characters and important props are in all caps so as to best keep track of what props/actors will be needed in the episode, and in any given scene.

So, here is my spec script for "Once Upon a Time." AGAIN, THIS IS NOT AN ACTUAL SCRIPT FROM THE SHOW, and it IS COPYRIGHTED. It was written shortly after the episode "Skin Deep" aired - and thus is in the world of the first season. SPOILER ALERT - there are spoilers from season 1 contained in the script.

Enjoy.

ONCE UPON A TIME spec script

"Poor Child"

by: Ashley Griffin
(c) 2011

EXT. COUNTRY SIDE – MID DAY – FAIRYTALE LAND

Thousands of miles in the air, we see a section of a BEANSTALK rising parallel to the enormous mountains that surround it. After a moment a FOOT suddenly thrusts down onto a branch, quickly followed by another. A lanky BOY of about eighteen comes down into frame. This is JACK. He is laden with a squawking GOOSE sticking out of a large SACK, and an enormous GOLDEN HARP. He is racing down the beanstalk as fast as he can.

Suddenly we hear a giant THUD like an earthquake. Or a thunderbolt. JACK looks up. He is running out of time.

Finally, Jack reaches the ground. We see a small COTTAGE in the distance. He throws the harp and goose to one side, and finds a SAW. Quickly, he starts trying to saw the base of the beanstalk, but the saw breaks. He looks around for any tool he might use to fell the stalk. Finally, desperate, he pulls out a SLINGSHOT and tries to hit the quickly approaching giant with ROCKS lying about. Again, to no avail.

JACK

He’s too high…  

He throws down his slingshot in despair.

JACK

Man! Rumple…Rumplestiltskin! Can you hear me? Help me! Where are you? Please! Help me!

RUMPLESTILTSKIN

(Appearing out of nowhere) Come, come. Carrying on like that! People will think there are giants falling from the sky. (A beat. Then a maniacal, crazy giggle.)

JACK

I want what you promised. When you gave me those beans you promised me…

RUMPLESTILTSKIN

Wealth beyond your wildest dreams.

JACK

Yes. A happy ending.

RUMPLESTILTSKIN

Not quite.

JACK

What?

RUMPLESTILTSKIN

I gave you precisely what you asked for. My part of the deal has already been fulfilled. Deal with the…consequences on your own.

JACK

I’ll make another deal. Please? PLEASE! He’ll kill me! Don’t you understand? He’s going to kill me!

RUMPLESTILTSKIN

Oh! So scared. So what do you want from me now?

JACK

Give me something to chop down this beanstalk with. Give me a way to kill him. Please, except my harp, and the goose, I’ll give you anything.

RUMPLESTILTSKIN

Anything?

JACK

Yes.

RUMPLESTILTSKIN

That’s all you need to truly have your “happy ending?”

JACK

Yes!

RUMPLESTILTSKIN

You sure? I’m not in the habit of making addendums to my deals. Or to being summoned so rudely. Until I am paid this is the last deal you’ll get from me. Be careful what you ask for. Make it count. You’ll owe me greatly.

JACK

Give me a way to kill him. I’ll owe you anything.

RUMPLESTILTSKIN

As you wish.

He pulls out a magic AX, and hands it to Jack who begins feverishly chopping at the base of the beanstalk. Finally, it begins to sway, and fall. In the distance we hear a low GROAN as the giant falls, and is killed. Jack smiles in triumph.

JACK

Thank you!

He turns, but Rumpilstiltskin is gone.

JACK

Finally. I have everything I’ve ever wanted.

Suddenly, he hears a voice, a FEMALE GIANT high above him. His face turns ashen.

GIANTESS o.s

Thief! Murderer! My poor husband! I will find, and kill that boy if it’s the last thing I do.

JACK

Wait, I thought she was dead…

GIANTESS o.s

Jack! JAAAAACK!

JACK

Rumplestiltskin!!!!

MR. GOLD o.s

Emma?

Jack’s head wheels around as we cut to:

INT. GRANNY’S DINER – DAY. STORYBROOKE.

EMMA sits reading Henry’s FAIRY TALE BOOK. It’s opened to “Jack and the Beanstalk.” She has a large cup of coffee next to her.  

MR. GOLD

Good afternoon. Sorry. Didn’t mean to startle you. (He looks down at the book.) Fairy tales. Thought that was more Henry’s thing.  (He looks at the page more closely. The character of Rumplestiltskin is not present.) Ah. Jack and the Beanstalk. Always found that one fascinating. A young boy is rewarded for grand larceny, and murder. All in the name of a happy ending.

EMMA

They’re a little darker than I remember.

MR. GOLD

Fairy stories give us hope. There’s no denying that. But they can also be…cautionary tales? Be careful what you put your hope in. Make sure you’re going after the right happily ever after.  Yes?

EMMA

Can I help you with something?

MR. GOLD

I’m actually here for an appointment. Just thought I’d say hello.

RUBY, hesitantly walks by and places the check down next to Emma.

MR. GOLD

Oh, here. Let me get that.

He takes out his WALLET, pulls some MONEY out, and puts it down on the table.

EMMA

No, you don’t have to…

MR. GOLD

Please. (A beat.) How’s everything down at the station?

EMMA

Fine.

MR. GOLD

Good.

He sees GRANNY walk out from the back of the shop.

MR. GOLD

Excuse me.

He makes his way to where Granny is anxiously waiting. She hands him a large ROLL OF MONEY. Mr. Gold smiles, and goes to leave.

EMMA

Is everyone in this town indebted to you?

MR. GOLD

You have a lovely day.  Enjoy your coffee.

Emma looks down and sees his wallet on the table. She picks it up, and quickly goes outside.

EXT. – GRANNY’S DINER – DAY.

EMMA

Mr. Gold! You left your…

But he’s vanished.

EMMA

Wallet.

CUT TO:

EXT. STORYBROOKE – TWILIGHT. EMMA walks with HENRY

EMMA

I’ve been reading your book. Having trouble figuring out Mr. Gold too.

HENRY

Yeah. He’s tricky. I just think it would make things easier if we knew everyone’s stories. Easier to figure out how to help them remember. And who we should be careful of.

EMMA

Henry, if everyone did remember, what do you think would happen? We’d all be back in the fairy tale world?

HENRY

Yeah. Everyone would finally be able to go home.

EMMA

Everyone?

HENRY

Yeah. (A beat.) We’re part of the story too, you know. (A beat.) So, what do you want to do?

EMMA

Well, I have to stop by Mr. Gold’s shop. He left his wallet at the diner.

HENRY

Oh.

EMMA

Yeah. Just have to return it, and then…

She looks down at Henry. It’s clear that he’s highly apprehensive about going to see Mr. Gold.

EMMA

What?

HENRY

It’s just…his shop is creepy. He’s creepy.

EMMA

Come on. I’ve been in there before. It’s…well, actually it is a little weird. But there’s nothing to be scared of.

HENRY

I’m not scared. I’ve been there too. I just…

EMMA

Ok. Want to meet me at Granny’s then? I’ll just be a couple minutes.

HENRY

I’ll get us some hot chocolate!

EMMA

Extra cinnamon?

HENRY

Extra cinnamon.

With a big smile, he runs across the street to GRANNY’S.

CUT TO:

INT – MR. GOLD’S PAWN SHOP – EVENING. It’s dark. No sign of life.

EMMA

Mr. Gold?

No answer.

Mr. Gold?

We hear a back door close. After a moment, a young girl in her late teens hurries behind the counter. She’s pretty, with intelligent, kind, twinkling eyes, but she looks sad, as if she’s carrying the weight of the world on her shoulders. She has deep auburn hair. Her clothes have been well worn. This is MIRANDA.

Emma is caught off guard. She’s never seen anyone besides Mr. Gold working in the shop.

EMMA

Hi. Is Mr. Gold around?

Miranda nods her head “no.”

EMMA

Do you…do you work here?

Miranda nods “yes.”

EMMA

Didn’t know he had a staff.

Miranda smiles, and makes a gesture as if to say: “just me.”

EMMA

Haven’t seen you around town.  I’m Emma.

They shake hands. Emma waits for Miranda to introduce herself. She doesn’t.

EMMA

Um…ok… anyways, I’m just bringing back Mr. Gold’s wallet. He left it at Granny’s.

She holds out the WALLET. Miranda lets out a sigh of relief, then reaches out and takes it from Emma. In sign language she signs “thank you.”

EMMA

Oh! Are you deaf? (A thought:) Do you read lips?

Miranda nods “no”, but before she can try to communicate further, we hear a voice from behind her:

MR. GOLD o.s

Miranda is mute.

And as he comes into frame:

MR. GOLD

She can’t speak.

Mr. Gold leans over her, and picks up his wallet from the counter.

MR. GOLD

That’s all for today Miranda.

But instead of getting her things, and walking out the front door, Miranda heads for the back room of the shop.

EMMA

Hey, do you need a ride? I was just going to stop at Granny’s and then…

Miranda stops, about to respond.

MR. GOLD

That wont be necessary. She lives with me. (To Miranda:) Thank you.

And Miranda goes.

EMMA

Is she…do you have a daughter?

Mr. Gold laughs.

MR. GOLD

No.

EMMA

No? (A beat.) She’s what then? Your…

MR. GOLD

Hostage? (Laughing) It’s what you’re thinking. You’ve been spending too much time reading those fairy tale books Ms. Swan.

EMMA

Then enlighten me.

MR. GOLD

Miranda is my…how do you say…my ward, as it were. She lost her family, and the poor child had nowhere to turn. She needed a job, and a place to live. I offered her both. I guarantee you she’s quite well looked after. As much as if she were my own daughter. (A beat.) You’re the sheriff. Check it out for yourself. (Referring to the wallet) Thank you for returning this. I was getting quite worried. If you’ll excuse me, I have to close up.

Emma warily makes her way out of the shop. Mr. Gold locks the door.

CUT TO: INT. MR. GOLD’S HOUSE – EVENING

Mr. Gold walks into his house, and goes to the living room where Miranda is sitting. She quickly gets up, and tries to leave, but Mr. Gold stops her.

MR. GOLD

It’s a good thing she brought that back. (No response.) So, what do you think of our illustrious Sheriff? Nice to finally meet her? (No response.) What? Cat got your tongue?

CUT TO:

INT. GRANNY’S – NIGHT.

HENRY sits with two cups of hot chocolate. His is almost gone. EMMA enters, and sits down across from him.

HENRY

(Referring to his all but empty glass:) Sorry, I tried to wait. So…how was Mr. Gold?

EMMA

Creepy.

HENRY

I told you.

EMMA

Henry, do you know a girl named Miranda? Auburn hair? Doesn’t talk? Works at the pawnshop?

HENRY

For Mr. Gold?

EMMA

Yeah.

HENRY

Uh. I’d rather die than work for Mr. Gold.

EMMA

Have you seen her around?

HENRY

Not really. I think I might have seen her once or twice near his store…why? Is something up? This has something to do with Operation Cobra, doesn’t it!?

EMMA

No. I just…I think she might need help.  

HENRY

This is why I wanted you to read the book. We could help her better if we knew what her story is. Lets see…trapped working for Mr. Gold…Rapunzel? You did mention her hair…that was the one where the witch made her not be able to speak, right? No, that was the one where the witch blinded her prince and she had magical healing tears…

REGINA o.s

Henry?

HENRY

Ah oh. (Under his breath) Speaking of witches…

EMMA

Henry!

Henry lets out a sigh. REGINA makes her way to the table. She debates whether it’s worth it to confront Emma about being found with her son. Again.

REGINA

So. How long should I ground you for this time?

EMMA

He wasn’t doing anything.

REGINA

He was supposed to be home at three o’clock.

EMMA

You told me you didn’t have to be home until six!

REGINA

He just knew I wouldn’t be home until six. But my meeting ended early. Is it so hard to follow some simple rules? What is it with sneaking out of the house all the time?

EMMA

Henry?

HENRY

But…

EMMA

She’s right.

REGINA

(Taken aback, but sincerely to Emma:) Thank you.

HENRY

I’m sorry.

He gets up, and starts to leave with Regina.

EMMA

Oh, Mayor Mills?

REGINA

Yes?

EMMA

Is it true Mr. Gold has a…ward?

REGINA

Yes. Miranda.

EMMA

Do you know anything about her?

REGINA

Poor girl. Sure got handed a rough deal.

EMMA

She used to have family?

REGINA

On the edge of town. Father, and sisters if I remember correctly.

EMMA

What happened?

REGINA

Not sure. I do know she’s all alone in the world now. Trust me Ms. Swan, everyone in town feels badly for her. Nobody wants to be in thrall to Mr. Gold. And she hardly ever leaves his sight. But she is taken care of.

EMMA

How did she loose her voice? Was she born mute?

REGINA

No idea. Tragic really. (A beat.) Let me guess. You want to try and help her?

EMMA

Yes.

REGINA

Take my advice, don’t waste your time.

EMMA

But…

REGINA

I’m not as cruel as you think Ms. Swan. I don’t mean you shouldn’t want to. The girl won’t let you.

EMMA

She looked...

REGINA

Given the choice, she’d stay right where she is. It’s sad, but true. For once, please, leave it alone. For the girl’s sake. Come on Henry.

And she sweeps out of the shop.

HENRY

(Whispering) She could be a more obscure story. I’ll start looking. It might help.

He gives her a quick, intense hug, and runs after Regina.

EMMA

What happened to you, Miranda?

CUT TO:

EXT – THE OCEAN – NIGHT – FAIRYTALE LAND

A beautiful, calm night. Moonlight floods the water.

CLOSE UP ON: A pair of big, bright eyes emerging from the water, followed by a lovely face, long, shimmering red hair, and an impish smile. She looks around, and then stares up at a large SHIP. This is ARIEL – the Little Mermaid.

ARIEL

Oh! Have you ever seen anything so wonderful in your entire life?

She swims towards the ship, her long green tail flipping up through the water. There’s a celebration on board. Fireworks, dancing, music. PRINCE ERIC dances with the rest of his crew. GRIMSBY – Eric’s man-servant tries to engage Eric in conversation.

GRIMSBY

Eric, have you given any thought to our discussion?

ERIC

Oh, not now Grimsby!

GRIMSBY

Eric, I promised your father that you would be married by the time you turned…

ERIC

Not tonight!

ARIEL

I’ve never seen a human this close before.

A SEAGULL flaps down near her on the edge of the ship.

ARIEL

He’s so handsome…

Eric moves towards the edge of the ship. Ariel could almost touch him…

ERIC

Believe me Grimsby, when I find her I’ll know. It’ll just…bam! Hit me. Like lightning.

Suddenly we hear a loud THUNDERBOLT followed by LIGHTNING cracking across the sky. The WAVES become choppy, and the CREW springs into action. Chaos. Suddenly, Eric is thrown overboard. Ariel dives into the water after him. She frantically looks around, then sees him, lifeless sinking down into the depths. She races after him, grabs his arm, and with all her force pulls him back to the surface.

FADE TO:

EXT. BEACH – DAY

Ariel has dragged an unconscious Eric onto the shore, praying he’s still alive. She smoothes his hair, and sings softly to him. She has a beautiful voice. Finally, after a long, tense moment, his head moves, and his eyes groggily start to open. The moment their eyes connect, Ariel belongs to him heart and soul.

ARIEL

So this must be what love is…

Suddenly we hear a DOG BARKING. Quickly, Ariel turns, and dives into the sea.

FADE TO:

Several days later.

UNDERWATER – TRITON’S PALACE - TWILIGHT

Ariel looks sadly at her SISTERS and her father – KING TRITON through one of the windows in the palace. They are frantically looking for her.

KING TRITON

After what happened with that ship, if she’s gone to the surface again…Moping around here for weeks, talking about “love.” Then she vanishes! Just find her! She can’t be that good at hiding. Just find Ariel.

Then, plucking up her courage, she swims away.

CUT TO:

UNDERWATER – EXT - URSULA’S LAIR – TWILIGHT

Ariel swims through a dark, foreboding kelp forest, finally reaching the opening of an immense cave. Now that she’s here, she isn’t sure if she can go through with this. She starts to turn back, but can’t bring herself to leave. She turns back towards the cave’s entrance.

ARIEL

(Repeating an adage she knows all too well:) No one returns from the Sea Witch unchanged…

A flickering light appears from the depths of the cave. And we hear a terrifying voice from deep within:

SEA WITCH o.s

Come in. Come in my child. Don’t be shy. I know what it is you seek. Are you willing to pay the price? How much do you love him?

If she were on land, a tear would be falling down her cheek. She steels herself, and swims into the cave. A long, tense moment. Will she return? Then, suddenly, a sharp, blood curdling SCREAM, followed by a maniacal CACKLE. We fade up through the water to reveal:

EXT. OCEAN – NIGHT. The EVIL QUEEN stands looking over the water. We hear a faint echo of the scream. The Evil Queen smiles.

CUT TO: INT. MIRANDA’S BEDROOM – DAY - STORYBROOKE

Miranda stares out the window of her room, which seems as if it might have been the maid’s quarters of the large house at one time. Mr. Gold walks in, carrying a bag of take out food.

MR. GOLD

You hungry?

No response.

MR. GOLD

You have to eat.

He turns and sees that Miranda is looking at EMMA through the window, who seems to be on some sort of official business across the street.

MR. GOLD

You know it doesn’t change anything.

Miranda looks up at him.

MR. GOLD

You already made your choice. She can’t do anything about that.

Miranda goes back to looking out the window. Mr. Gold sits next to her.

MR. GOLD

It could be a lot worse you know.

A beat. Then, almost kindly:

MR. GOLD

I take care of you, don’t I? We get along all right.

Miranda looks at him – the first time we’ve seen anyone look at Mr. Gold with out a hint of fear. She nods “yes.”

MR. GOLD

You should eat.

He gets up, and goes to the food he brought. Miranda signs: “No, thank you.”

MR. GOLD

I told you…

Miranda signs: “I’m not hungry.”

MR. GOLD

(A realization.) You went walking by that house again.

Miranda signs: “I wasn’t…”

MR. GOLD

Don’t. Go. By. That. House.

Miranda signs: “You can’t…”

MR. GOLD

Actually, I can.

A beat. Then, Miranda lightly laughs.

MR. GOLD

What?

Miranda signs: “I just thought: Despite everything, I’m your only friend.”

MR. GOLD

(A hint of cruelty creeping in.) You are nothing more than my servant.

With a calm, inner strength. Miranda signs: “Don’t be mean. I’m not, and you know it.”

MR. GOLD

Don’t you…

Miranda signs: “Servants don’t choose to be. I chose to be. I let you have power over me, and you hate it.”

Mr. Gold is taken aback. Practically a first.

MR. GOLD

Don’t put words in my mouth.

CUT TO:

INT. ARCHIE’S OFFICE – DAY

ARCHIE sits at his DESK. There’s a knock at the door. He answers it. EMMA steps into the room.

EMMA

Hey Archie, can I talk to you for a minute?

ARCHIE

Of course! Is this official business, or…un…official…

EMMA

Um, a little bit of both, I guess. Do you happen to know this girl Miranda? Works for Mr. Gold? Can’t speak.

ARCHIE

Not really. Don’t go in Mr. Gold’s shop much. Odd girl. Tragic really.

EMMA

Everyone keeps saying that. Tragic.

ARCHIE

It is. Lost her home, her family.

EMMA

Than someone needs to help her.

ARCHIE

Mr. Gold…

EMMA

Oh come on Archie, you and I both know Mr. Gold is the last person we’d trust to truly help someone.

ARCHIE

What did you have in mind?

EMMA

I thought you could talk to her. Something’s off. It feels like Stockholm syndrome over there or something.

ARCHIE

I could try…

A beat.

EMMA

What?

ARCHIE

It’s just…I don’t know sign language. It would be…difficult to have a session with her. It could take half our time for her just to write out her responses. We couldn’t do much with short, one-sentence answers. Mr. Gold’s the only one who seems to be able to communicate with her in any kind of real way…

EMMA

Why does that not surprise me?

ARCHIE

At least she has a job. A place to live. In her…condition…there aren’t many opportunities for her.

EMMA

She deserves more than being a slave to Mr. Gold. (A beat.) Listen, I know you don’t really know her, or her situation, but in your professional opinion – what’s going on over there?

ARCHIE

It does seem a little…odd.

EMMA

Please? I’m just trying to help.

ARCHIE

Without talking to her, I honestly don’t know Ms. Swan. I will say, as…intimidating as Mr. Gold is, I don’t think he’s abusing her. Or forcing her to stay. And I’ve seen moments, when he does truly seem to care about her.

EMMA

And that puzzles you.

ARCHIE

Truth be told, I’ve never really seen him care about anyone. (A beat.) Ms. Swan, I don’t doubt the girl could use help. But please, be careful. Mr. Gold is, for all intents and purposes, the only family she has, or to my knowledge has ever known. It could be devastating for her to have that taken away. And at the end of the day, we don’t know much about her, or her situation. As noble as it is to want to “save” her – it’s dangerous to try and do so without having all the facts. It might just end up making things worse.

CUT TO: EXT. FOREST – DAY – STORYBROOKE

A few days later. MIRANDA is floating in a beautiful pool of water. On the shore is a small, portable CD PLAYER. She’s listening to Debussy’s “Reflets dans l’eau.” A TOWEL, DRESS, SHOES, BAG, and a NOTEBOOK and PENCIL lie close by.

After a moment, HENRY walks by on the path. When Miranda sees him, she ducks under the water, only her eyes peaking above the surface.

HENRY

Hey! Don’t be shy! It looks like fun!

Miranda’s head peaks up, grinning impishly. She splashes some water at Henry.

HENRY

(Laughing.) Hey!

Miranda runs up on shore, and throws her towel over her shoulders. Her hair is soaking wet.

HENRY

What are you listening to?

She motions for Henry to come closer. He sits down next to the CD player, and listens to the music. Miranda is looking through her bag for something. She pulls out the remnants of her lunch: a TUPPERWARE CONTAINER, and a FORK.

HENRY

What are you looking for?

Miranda mimes brushing her hair.

HENRY

Um…I don’t see a brush.

Miranda finally picks up the fork, washes it off, and uses it to start brushing her hair.

HENRY

The music’s pretty.

After a moment Miranda grabs her notebook and pencil. She writes: “Do you hear the water?”

HENRY

What do you mean?

Miranda writes: “In the music. Do you hear the water in the music?”

Henry listens.

HENRY

I don’t know…

Miranda writes. Henry reads from her paper:

HENRY

“The eighth notes suspended an octave above – like water dripping into a pool.” (As he listens) You mean those notes? (A beat.) Yeah! Yeah I do! Hey, that’s cool! (A beat.) How do you know so much about music?

Miranda writes: “My teacher. Sebastian.”

HENRY

Did you used to play piano?

Miranda writes: “No. Sing.” Then, realizing what she wrote, she quickly crumples it up.

HENRY

You used to sing?! But… (A beat. He realizes…) Oh, but… I’m sorry.

Miranda suddenly gets nervous. She’s said too much. She writes: “Anyways, I shouldn’t be talking about this.”

HENRY

Why not? Mr. Gold?

Miranda smiles.

HENRY

I wish I could take you away from there.

Miranda writes: “Don’t wish for things you don’t understand.”

HENRY

Well, I do.

Miranda writes: “Don’t be such a guppy.”

HENRY

(Laughing.) Hey! I’m not a guppy!

Miranda throws her dress and shoes on over what she’s wearing, and gathers her things. She offers her hand to Henry, and they start to walk home.

CUT TO: EXT. STORYBROOKE – DAY

Miranda and Henry walk through the residential part of town. Suddenly, Miranda stops. We see a handsome young man, ERIC walk out of a large house. Miranda may as well be invisible to him. After a moment, a lovely young woman, VANESSA follows him out, and locks the door. They walk down the street.

Miranda looks like she’s just had her heart ripped out. She can’t move.

HENRY

What’s wrong?

Miranda pulls herself together. She writes: “Sorry, I have to go.”

HENRY

But, why?

Miranda writes something, and shows it to Henry. Then she starts to leave.

HENRY

Why aren’t you supposed to be here?

Miranda turns and puts her finger to her lips, “shushing” him. She runs off.

HENRY

Wait! Please! I need to talk to you!  

CUT TO: INT. MR. GOLD’S SHOP – DAY

Miranda bursts through the door. MR. GOLD gives her a disapproving, but concerned glance as she walks in.

Miranda signs: “I know! I know!”

She runs into the back of the store, frantically trying to dry her hair.

MR. GOLD

Teenagers.

CUT TO: INT. ERIC’S PALACE – NIGHT – FAIRY TALE LAND

ARIEL bursts through the door into the ballroom. She’s distraught. She’s made a mess of dinner. ERIC enters a moment after her.

ERIC

Boy! You should see the girls Grimsby usually brings in here! So boring, so… but you! Oh!

He sees she’s distraught.

ERIC

Hey. Hey, don’t be upset. I didn’t feel like crab tonight anyway. (He laughs, then becomes serious.) Come on. You’ve made me smile for the first time in weeks. Honest.

Ariel instantly brightens up.

ERIC

Who would have thought when I found a little shipwrecked girl on the beach that… well, everything’s been a lot better with you here. I…I hope you’ll stay for a long time.

Ariel beams. She nods: “Yes.”

ERIC

(A beat.) Listen, I’ve been wondering…what happened to your voice? Were you born like this? (Trying to lighten the mood. With a laugh:) Or maybe Goblins stole it away in the middle of the night.

Ariel moves away.

ERIC

I’m sorry. (A beat.) I’m sorry. Hey, who needs words anyway? A smile, or a look can say just as much sometimes, right? Hey! I know! Dancing beats small talk any day.

Ariel, shakes her head “no” as if to say: “I don’t know how to dance.”

ERIC

Don’t be shy. I’ll bet you’ll be a great dancer.

He goes over to a music box, and winds it up. It begins playing a beautiful waltz. Eric goes to Ariel, and places her arms. They begin waltzing. He shows her where to go.

ERIC

See? It’s as easy as breathing.

Ariel starts to trip. Eric catches her.

ERIC

Don’t worry! I’ve got you. It’s ok. You just have to get your land legs.

They continue, slowly. Ariel gets better as she gains confidence. They start to move across the dance floor. She’s actually dancing quite well.

ERIC

You’re very musical!

Ariel smiles.

ERIC

Do you...have you studied music?

Ariel nods “yes.”

ERIC

Wonderful. You dance beautifully. Very graceful. Like an enchanting aerial creature.

Ariel nods vigorously.

ERIC

You like that?

Ariel nods “yes,” then “no.” Then she moves her hands as if to say: “Say it again.”

ERIC

Like an enchanting aerial…

Ariel nods vehemently and points to herself.

ERIC

Aerial?

She nods.

ERIC

That’s your name? Ariel?

She nods.

ERIC

That’s kind of pretty. All right. Ariel.

They continue dancing, but closer. A long moment. Is he going to kiss her?

CUT TO: INT. HENRY’S BEDROOM – NIGHT - STORYBROOKE

HENRY is combing through his FAIRY TALE BOOK, trying to find what story Miranda might belong to. He turns to “Rapunzel”: not right.  “The Goose Girl”: also not right. After a moment, he flips to “The Little Mermaid.” The picture of the mermaid looks strikingly like Miranda.

He begins feverishly reading. We see him turn past various ILLUSTRATIONS: The mermaid rescuing her prince, having her voice taken by the sea witch, as a human at the prince’s castle.

We watch Henry’s face as he turns to a picture we don’t see. His eyes widen, and all but fill with tears. He’s clearly upset, and disturbed by what he sees.

CUT TO: INT. SHERIFF’S OFFICE – DAY

EMMA sits behind her desk drinking coffee, and going through some paper work. Suddenly Henry bursts in.

EMMA

Henry! What…?

Henry slams the book on the table, interrupting Emma. The book is open to the last page in “The Little Mermaid” story.

HENRY

She dies!

EMMA

What?

HENRY

Miranda. I found her story. She’s The Little Mermaid. She traded her voice to the Sea Witch in exchange for becoming human, so she could be with her true love. If her prince marries someone else, she dies.

EMMA

Henry, wait just a minute…

HENRY

And he does!

EMMA

What? Henry, calm down…

HENRY

He does! He marries someone else. Look at the end of the story! Why was I so stupid?!

EMMA

Henry…

HENRY

Don’t you see?

EMMA

It’s going to be ok. Just take a deep breath.

HENRY

Don’t you understand?

EMMA

Understand what?

HENRY

That Mr. Gold is protecting her. What if he’s trying to help her? What if he knows something we don’t? Miranda was right. Don’t wish for things you don’t understand.

EMMA

Henry, you’re going to need to spell this out for me.

HENRY

If the curse is broken, everyone in Storybrooke will go back to their real lives in the Fairy Tale world. Right?

EMMA

Yeah?

HENRY

But what if that’s not really a happily ever after? What if things are more complicated than we thought? What if Operation Cobra is really keeping people from having a happy ending?

EMMA

What do you mean?

HENRY

Miranda. We were rushing into this without knowing all the facts. If Miranda goes back to the fairy tale world, she’ll be dead. And her soul will be in bondage forever. Not as a curse waiting to be broken, but for all time. She doesn’t get to be with her true love, she doesn’t get to go back to her family, she doesn’t even get to be alive. Not ever. What if being here, what if Mr. Gold taking care of her, is actually better? What if being in Storybrooke is her happy ending? Or as close to one as she’s going to get? Maybe he knows something we don’t. Maybe he’s using the curse to an advantage?

CUT TO: INT. ERIC’S PALACE – NIGHT – FAIRY TALE LAND

We pick up exactly where we left off – with Eric about to kiss Ariel.

Suddenly GRIMSBY bursts through the doors.

GRIMSBY

Eric! The girl! The girl who rescued you, who brought you back from the beach after the shipwreck – she’s come back. She’s here.

ERIC

You found her?

GRIMSBY

Yes. Her name’s Vanessa.

ERIC

Princess…?

GRIMSBY

Yes. Princess Vanessa. Of Lonnymore.

ERIC

I remember her. Is she…?

GRIMSBY

Yes.

ERIC

Where?

Without missing a beat, Eric rushes out of the room, the doors crashing behind him. Ariel is devastated.

CUT TO: EXT. BEACH – DAY – FAIRY TALE LAND

Ariel watches Eric and VANESSA walking along the beach. They seem to be enraptured with each other. Suddenly, Eric turns to look at her.

ERIC

Ariel!

Ariel lights up.

ERIC

Come here!

She races to him.

ERIC

Vanessa is going to sing for us! They say she has the most beautiful voice in all the lands.

Ariel stops short.

ERIC

Did you know that Vanessa and I knew each other when we were children? I’d nearly forgotten.

VANESSA

I never did.

ERIC

She dumped me overboard into the sea when we were six. I learned to swim just so I could keep up with her.

VANESSA

The ogre wars kept us away for so long. I’d been longing to see you, but I never thought you’d remember. If I hadn’t found you on the beach that day, I don’t think I would ever have gotten up the nerve to come visit you.

ERIC

I’m finding I like shy girls more and more…

Vanessa lovingly hits him.

ERIC

Ariel?

She looks at him. He turns to Vanessa.

ERIC

Have you ever been in love?

Ariel nods “yes.”

CUT TO: INT. The EVIL QUEEN’S THRONE ROOM – DAY

The EVIL QUEEN stands before her MIRROR conversing with the SEA WITCH – who we hear, but never see.

EVIL QUEEN

I can’t stand it! It’s too easy!

SEA WITCH o.c

I told you.

EVIL QUEEN

I made sure Vanessa was walking along the beach just in time to find Eric, and take him back to his castle. He’s convinced she’s the one who saved him from the storm. Not Ariel. I hear their wedding is to take place within the week.

SEA WITCH o.c

Perfect.

EVIL QUEEN

Have you dealt with her father?

SEA WITCH o.c

Triton? He was all too willing to make a deal. I simply didn’t uphold my end of the bargain.

EVIL QUEEN

Is he…dead?

SEA WITCH o.c

Yes. And the sisters too.

EVIL QUEEN

I’m impressed. So, with Ariel soon to be enslaved, the kingdom belongs to you now?

SEA WITCH o.c

I can’t thank you enough for your assistance.

EVIL QUEEN

And my payment?

SEA WITCH o.c

Is on its way. It should be there within the hour.

EVIL QUEEN

Excellent.

SEA WITCH o.c

I’m glad we didn’t enlist Rumplestiltskin’s assistance after all.

EVIL QUEEN

Well, I’m not his favorite person at the moment. (A beat.) Neither are you I hear. There was a…dispute recently?

SEA WITCH o.c

To put it mildly.

EVIL QUEEN

In any case, it’s been a pleasure doing business with you. And I hope you enjoy your new servant. She seems positively…

Suddenly there is a great BURST OF LIGHT, and sounds as if an ANIMAL IS BEING SLAUGHTERED. The evil Queen becomes panicked.

EVIL QUEEN

What’s going on?

Sounds of a CAVE COLLAPSING.

EVIL QUEEN

Ursula?! Ursula!

Another BURST OF LIGHT. The evil Queen quickly throws a CURTAIN over the mirror.

EVIL QUEEN

Damn it!

She goes to her window and looks out across the OCEAN. The WAVES are large, and crashing over one particular spot in the middle of the sea.

EVIL QUEEN

Mirror!

Her HAND MIRROR springs to life.

EVIL QUEEN

What’s happening?

MIRROR

I can see nothing my Queen.

EVIL QUEEN

What do you mean, nothing?

MIRROR

Nothing. It’s some sort of magic, very powerful.

EVIL QUEEN

My payment from the sea witch?

MIRROR

Is safe. Ursula spoke truthfully. She sent it within the hour. Whatever happened down there, it was already on land when it did.

EVIL QUEEN

And Triton is dead?

MIRROR

Yes. The princesses as well. All except…

EVIL QUEEN

Ariel is of no concern. She will follow them soon enough. Although her fate will be much more…dire when she does. Poor, desperate soul.

MIRROR

Yes.

A beat.

EVIL QUEEN

I don’t care how you do it, but find out what’s going on.

MIRROR

My Queen, you got what you wanted…

EVIL QUEEN

I can’t be sure until it’s in my hand. Find out what happened. Now. It is…of the utmost importance.

MIRROR

Yes, your majesty.

EVIL QUEEN

This curse must be enacted soon. Time is running out.

MIRROR

I understand.

CUT TO: EXT. SHIP – DAY

A large, elegant ship is docked near ERIC’S PALACE. It’s being prepared for the wedding festivities to take place that evening.

SAILOR 1

Did you see that tempest the other night?

SAILOR 2

Good thing it didn’t make it onto shore.

SAILOR 1

Never seen anything like it. And those sounds…

SAILOR 3

Don’t tell us you’re getting superstitious now!

They laugh.

SAILOR 4

What’s going to happen to the girl?

SAILOR 3

Oh, Prince’s little pet? I hear he’s planning to keep her around.

SAILOR 1

Even after he’s married?

SAILOR 2

I’m sure his fiancé’s pleased as punch about that.

SAILOR 3

Wife and mistress in one square deal.

SAILOR 4

Stop it! She’s a sweet kid.

SAILOR 3

Oh come on, don’t tell me you feel bad for her? She’s had a good run.

SAILOR 2

Knock it off. He’s right. I feel bad for her.

SAILOR 1

What do you mean?

SAILOR 2

Everyone knows she’s in love with him.

SAILOR 4

Everyone except the Prince.

SAILOR 2

He knows. But who’d want a stupid mute girl for a wife?

We see ARIEL walk by the sailors. They all stop talking as soon as they see her.

CUT TO: EXT. SHIP – SUNSET

Ariel stands on the side of the ship, gazing out over the water. She’s the maid of honor, and is wearing a beautiful dress. A tear falls down her cheek, into the ocean.

We hear music start to play. Ariel looks behind her – the ship has set sail, and the wedding is about to begin. She slowly walks back to join the bridal party.

Ariel goes to the bride – VANESSA, and helps arrange her dress. Ariel gives her a kiss on the cheek, and then turns, and begins to walk down the aisle.

She walks towards ERIC – standing at the bow of the ship. Every step is like torture for her. She finally takes her place, and watches Vanessa make her way down the aisle.

As the vows commence, Ariel watches the sun set, and fade across the horizon. She knows that this is the last sunset she will ever see.

MINISTER

Dearly beloveds. We are gathered together to join Prince Eric, and Princess Vanessa in the bonds of holy matrimony.

Vanessa hands her bouquet to Ariel.

MINISTER

If there be any person who knows of a reason why these two should not be joined together, let them speak now, or forever hold their peace.

Ariel starts to open her mouth, then realizes that she physically can not object.

MINISTER

May I have the rings please?

GRIMSBY hands him the rings.

MINISTER

Eric.

Eric takes a ring and places it on Vanessa’s finger.

ERIC

Vanessa. I know, without a shadow of a doubt that you are, and forever will be my one true love. I never knew I could feel like this. I promise to honor, cherish, and keep you all the days of my life. And I happily take you as my wife, until death do us part.

MINISTER

And Vanessa.

Vanessa takes the other ring and places it on Eric’s finger.

VANESSA

Eric. My whole life I’ve been waiting for you. And for the rest of my days I shall need nothing more than to be in your company, to love you, to be your wife. And I shall honor and cherish you forever and ever.

MINISTER

By the power vested in me, I now pronounce you husband and wife.

A beat.

MINISTER

You may kiss your bride.

Eric and Vanessa passionately kiss. The guests erupt in cheers and applause.

Ariel looks as though she might crumple into a heap and die right then and there.

Suddenly, Eric runs over to Ariel, he kisses her forehead, and then, along with Vanessa, disappears into the joyful crowd.

CUT TO: EXT. SHIP – NIGHT

A celebration, not unlike the one on the night when Ariel first saw Eric is underway. Ariel stays to the side, away from the crowd.

She sees Eric waltzing with Vanessa as he had done with her.

CUT TO: EXT. SHIP – NIGHT

The party has died down. It’s very late. Almost everyone is asleep below deck. Eric walks to the tables, still filled with food.

GRIMSBY

Eric. Shouldn’t you…be in bed?

ERIC

(Relishing saying the word “wife”) My wife would like a few more strawberries and cream.

He picks up a bowl from the table.

GRIMSBY

(Uncomfortably) Very good sir.

ERIC

What happened to Ariel? I haven’t seen her since the ceremony.

GRIMSBY

I’m sure she’s below deck sir. Poor thing must be exhausted.

ERIC

Is she…all right?

A beat.

GRIMSBY

What do you think, sir?

A beat.

ERIC

Good night Grimsby.

GRIMSBY

Good night sir.

They go below deck.

PAN TO:

ARIEL, sitting on the back of the ship. She’s curled in a ball, hugging her knees into her chest. She stares out over the water, almost willing the sun not to rise. She’s crying.

Suddenly, we hear a strange, manic voice:

RUMPLESTILTSKIN o.c

Poor child. Poor, sweet child.

Ariel is suddenly on high alert. She looks up, and sees RUMPLESTILTSKIN standing a few feet in front of her.

RUMPLESTILTSKIN

Too late now, isn’t it?

Ariel panics. She turns to run, a scream escaping from her mouth. Stunned, she stops, and turns – her hand to her throat. Confused.

RUMPLESTILTSKIN

As a show of good will. (A beat.) Anyways, it’ll make this easier if you can speak.

ARIEL

(Testing out her voice.) Who…? Who are you?

RUMPLESTILTSKIN

Rumplestiltskin.

Ariel looks confused. Rumplestiltskin suddenly comes very close to her face, forcing her to look right in his eyes.

RUMPLESTILTSKIN

Perhaps, where you’re from, you know me by another name.

ARIEL

(Realizing:) The dark one.

RUMPLESTILTSKIN

Yes.

ARIEL

They say you are as powerful as the sea witch.

RUMPLESTILTSKIN

More powerful now, dearie.

He pulls out a large, GOLDEN SEASHELL.

RUMPLESTILTSKIN

The sea witch no longer exists. We had a little score to settle, and her powers now belong to me. That means all her…contracts, transfer to my name. Including yours. That’s why I’ve come to see you.

He pulls out a LONG SCROLL – as if from nowhere.  We can see his name at the top, and Ariel’s at the bottom. 

RUMPLESTILTSKIN

It seems we have some business to attend to. Lets see. In exchange for your voice you were made human. A state, which will continue until the morning after your beloved marries another. At which time your life will end, and your soul will forever be in bondage to the executor named above. (He giggles.) Me. Well, the Queen did say I should get a new girl. (Looking through the fine print of the contract as he speaks) With this contract though, you couldn’t leave even if I chose to let you go. It’s iron clad. The sea witch thought this through.

ARIEL

Why are you here?

RUMPLESTILTSKIN

I am about to offer you something I’ve never offered anyone before.

ARIEL

What’s that?

RUMPLESTILTSKIN

An escape clause. I have to say, this deal is a bit harsh – even for me. See, the sea witch had no interest in striking a bargain. She wanted to gain power and control of your father’s kingdom. She used you. And she had no desire to enter into a fair arrangement. Now, the price of a deal is often, extreme, but by all rights it must be fair. Equal to what is being offered in exchange. And this deal, is far from. Besides, I’ve already gotten what I want. I didn’t enter into this contract with you. And I’m feeling…generous.

ARIEL

You…you’re letting me go?

RUMPLESTILTSKIN

Oh, no. See it’s not quite that easy. No contract can simply be ripped up. Magic doesn’t work that way. Even I don’t have the power to make this just disappear.

ARIEL

Than what…?

RUMPLESTILTSKIN

I said an escape clause. Not a free pass. The way out wont be easy. But I think you have the courage for it. You’re a plucky little thing, aren’t you?

ARIEL

What do I have to do?

He pulls out a shimmering, terrifyingly sharp DAGGER.

RUMPLESTILTSKIN

Just this: I can’t undo this contract. But before the sun rises I can, amend it. If you kill your prince, and his blood splashes on your legs, you will turn back into a mermaid, and you can go home. Just as if you had never loved at all. You can be a princess – and have the entire ocean at your command.

He offers it to her, but she is too scared to take it.  

RUMPLESTILTSKIN

You have no idea the horrors waiting for you if you don’t.

She still doesn’t take it.

RUMPLESTILTSKIN

My charity will not last forever. I am sparing you a fate worse than death. Do not treat such a gift lightly. The sun will be up soon. Tick tock.

Shaking, Ariel reaches, and takes the dagger.

RUMPLESTILTSKIN

That’s right child. That’s it.

CUT TO: INT. ERIC’S QUARTERS – NIGHT

Ariel enters tentatively, scared to wake the sleeping prince and princess. She stands over them, and raises the dagger.

Suddenly Eric moves in his sleep. He hugs Vanessa to him, and whispers her name.

Ariel begins crying. Rumplestiltskin appears over her shoulder.

RUMPLESTILTSKIN

Think of what he did to you! You loved him. You saved his life. And how does he repay you? By betraying your love! By hurting you more deeply than any knife wound ever could. By taking you forever from those you care for.

ARIEL

He didn’t know.

RUMPLESTILTSKIN

He knew you loved him. Trust me. And do you think he would have chosen any differently if he had known all you did for him? One last thing. And then you can go home. Start a new life.

She raises it, but cannot kill Eric.

RUMPLESTILTSKIN

I am not joking around here! Once that sun rises I have no power to free you. Your soul will be enslaved in hellish torment for all eternity.

Ariel is shaking. She leans over Eric…and kisses his cheek. She stands, and, completely drained, drops the dagger on the floor. She runs out of the cabin.

CUT TO: EXT. SHIP – NIGHT.

Ariel runs to the bow of the ship.

RUMPLESTILTSKIN

What are you doing?

ARIEL

I can’t. I love him.

RUMPLESTILTSKIN

You’re a fool. Take this chance, before it’s too late. Please!

ARIEL

Why do you care so much about me?  

RUMPLESTILTSKIN

I care for nothing. But you’re a child! A child without a soul in the world, who that witch took advantage of.

ARIEL

How many cruel deals have you struck?

RUMPLESTILTSKIN

You entered into an arrangement you couldn’t possibly understand.  

ARIEL

Like you did?

Rumplestiltskin is taken aback.

ARIEL

I’ve heard the legends. The stories.

RUMPLESTILTSKIN

You were too young.

ARIEL

I knew what I was doing. (Quoting from the contract:) “The executor will have full rights and privileges to every aspect of the mind, body, and soul of the undersigned for all eternity herein and forthwith without release with no exceptions, outs, clauses, or conditions, with such rights transferable upon executors death.”

RUMPLESTILTSKIN

You read the contract?

ARIEL

Every word.

A beat.

ARIEL

I can’t have been the first one to read a contract.

RUMPLESTILTSKIN

To my knowledge.

He’s met his match.

RUMPLESTILTSKIN

I have no wish to enslave you. I do not want another… (He’s about to say “girl”) being in my service. But if you do not do this, I will have no choice. And that will never change no matter when it is, or what world we’re in. You will never have a happy ending. Please.

ARIEL

All magic comes with a price.

He turns and looks at her.

ARIEL

I chose. And I would give everything. I would gladly die so that he might be happy. Even if he is happy with someone else.  I will trade my happy ending, for his.

A beat.

RUMPLESTILTSKIN

No one has ever turned down a deal with me.

ARIEL

I just did.

RUMPLESTILTSKIN

You are a fool.

ARIEL

Have you never loved? Have you never loved someone so much you would give your life for them? A father? A child? A true love.

RUMPLESTILTSKIN

You will exist without all of them. For eternity.

ARIEL

Then perhaps, we are alike in some way. But no matter the cost, I will not kill my love, for anything in the world. There are worse things than living without a happy ending.

He looks as if he’s going to cry.

ARIEL

I believe you still have a heart, Rumplestiltskin.

His mask goes back up. Harshly, he pulls out the shell, and Ariel’s voice disappears. Just as it does, a beam of light cuts across the horizon, and the sun begins to rise.

RUMPLESTILTSKIN

My first order, is to shut up.

Ariel starts convulsing, in torturous pain. Even more terrifying because she cannot scream. She collapses, and Rumplestiltskin, in spite of himself, holds her. She looks up at him as if to say: “What’s happening to me?”

RUMPLESTILTSKIN

You’re dying.

The sun is now bright on the horizon.

RUMPLESTILTSKIN

Don’t worry. The worst is still to come.

CUT TO: INT. GOLD’S PAWN SHOP – DAY – STORYBROOKE.

EMMA, forcefully makes her way into the store. She sees MIRANDA working behind the counter.

EMMA

Miranda? I’d like to talk to you.

A beat.

EMMA

Can we take a walk? (A beat.) Don’t worry, I’ll deal with Mr. Gold.

CUT TO: EXT. STORYBROOKE – DAY.

Emma and Miranda walk on the outskirts of town. There are flowers by the side of the road.

EMMA

Miranda, I need to be honest with you. And I need you to be honest with me, ok?

Miranda nods “yes.”

EMMA

I’m worried about you. I’m worried about Mr. Gold ordering you around, and keeping you under lock and key. I think you should get your best chance at a normal life. Get to go to school if you want – find out who you want to be. Not be stuck in that pawnshop all day and night. Has anyone even taken you to a doctor about your voice? I know Mr. Gold can be intimidating…

They stop. Miranda gets out her notebook and writes: “Mr. Gold is a better man than you think he is.”

EMMA

I know that he’s taken care of you, but you can’t be indebted to him for the rest of your life. Everyone keeps telling me to leave this alone. That you’re better off where you are, and that I shouldn’t go rocking the boat. But I’m not so sure. Tell me honestly – what do you want? And I will do everything in my power to get it for you. You can’t lose hope that you can be happy. You deserve a happy ending.

Miranda writes: “I can’t leave.”

EMMA

You can Miranda. I know this is a hard time in your life, but…

Miranda writes:

EMMA

(Reading:) “What seems to us as bitter trials are often blessings in disguise.” But Miranda…

Miranda writes: “Hope, and happiness do not come free Ms. Swan.”

Miranda hands her a folded, well-worn piece of paper, and walks back to the pawnshop.

HENRY comes running up.

EMMA

Miranda! Wait!

But she’s gone.

HENRY

What did she say?

EMMA

She wants to stay where she is.

HENRY

I know. It’s because of her story.

Emma gets down to Henry’s level, and speaks to him earnestly.

EMMA

Henry, story or not you never stop hoping. I don’t care how bad things look. There is always a way.

She gets up.

HENRY

Where are you going?

EMMA

I’m going to go talk to Mr. Gold. And you’re coming with me.

CUT TO: INT. MR. GOLD’S PAWN SHOP – DAY

Emma enters, followed by Henry.  Miranda is nowhere to be seen. Now MR. GOLD is behind the counter.

EMMA

Mr. Gold.

MR. GOLD

Emma. Just can’t leave this alone can you?

EMMA

What is going on with Miranda?

MR. GOLD

What do you mean?

EMMA

What happened to her family? Why is she so damn eager to jump to your every beck and call?

MR. GOLD

Her family died, a long while back. Drowned I believe. I take care of her, and she respects my wishes.

EMMA

Why her? Of all the kids who need help.

MR. GOLD

I’m afraid that’s between me, and Miranda.

EMMA

What about her voice?

MR. GOLD

An accident when she was younger. Shame, she had the most beautiful voice you’ve ever heard. I do my best to take care of her Ms. Swan. How long do you honestly think the child would last on her own? No real way to communicate…

EMMA

You can’t keep her a prisoner Mr. Gold. She’s a young girl – you can’t keep her indebted to you, make her work here forever.

MR. GOLD

I’m not. It’s her choice. And we all have to live with our choices. Believe me, I am doing everything I can to help her.

HENRY

And…there are things…we don’t understand…right Mr. Gold?

A beat. Mr. Gold is taken aback. How far into this does he want to go?

MR. GOLD

Yes Henry.

HENRY

It’s like…in my book. If you don’t have all the information, you can end up making things worse. Like with King Midas. He wanted gold so much it ended up ruining his life. Before he used that spell, he should have read the fine print.

MR. GOLD

You could take a lesson from your boy Ms. Swan. (A beat.) Can I offer you a bit of advice? Sincerely. Really know what you’re fighting before you jump in the fray. It’s not just about getting a happy ending. It’s about how you go about getting it. What you think will make you happy, might end up being quite off the mark. And you may have sacrificed a great deal in the interim.

HENRY

What if you know you’ll never get a happy ending?

MR. GOLD

Such a thing is…subjective. (To Emma:) Emma, I admire your courage, and your conviction. They can do much good. But make sure you have all the facts before you begin a crusade, or you’re going to destroy more than you help. Put your hope in the right things, and I promise, you will have an ally in me.

EMMA

And what is the right thing?

MR. GOLD

For right now, I guess you just have to wait. And see.

Henry takes a CD out of his pocket. It’s “Les sons et les parfums tournet dans l’air du soir” by Debussy. He slides it to Mr. Gold.

HENRY

This is for Miranda. Ask her…if she can hear the air.

MR. GOLD

I’ll do that.

HENRY

(To Emma) Come on. It’ll be ok.

They leave the shop.

CUT TO: INT. MR. GOLD’S SHOP – DAY

Mr. Gold walks his back office. He sees Miranda polishing his CHIPPED CUP with the greatest of care, and gentleness.

She signs: “It was getting dusty.”

MR. GOLD.

Thank you.

She signs: “I know you still think of her.”

MR. GOLD

Don’t.

She signs: “I still think of him.”

MR. GOLD

Why don’t you try to forget?

She signs: “Take up spinning?”

She sets the cup down carefully on a table. He looks back at her.

MR. GOLD

Of all the people I made deals with. Why you? Why was it you?

She signs: “You lost a child. I lost a father. Maybe we need each other.”

She smiles. He turns away. She writes something in her NOTEBOOK, and goes to him, touching his shoulder. He turns, and she holds up the PAPER. It reads:

“You still have a heart, Rumplestiltskin.”

CUT TO: INT. GRANNY’S – DAY

EMMA and HENRY sit drinking HOT CHOCOLATE.

EMMA

I’ll never understand how I had a child who seems to be smarter than me at ten years old.

HENRY

Eh, intelligence increases with each generation.

EMMA

Really?

HENRY

No, I’m just special.

They laugh.  A beat.

HENRY

I don’t think Miranda is tragic. Everyone keeps calling her “poor child.” She’s not a poor child. I think she’s smart, and strong, and very brave.

EMMA

I think you’re right.

A beat.

HENRY

What did she give you?

EMMA

Just a piece of paper.

HENRY

Well…

Emma pulls it out.

HENRY

What does it say?

Emma reads. As she does, Debussy begins playing, as the camera fades into a MONTAGE of the inhabitants of Storybrooke. ASHLEY, RUBY, MIRANDA, AUGUST.

EMMA v.o.

“Hope is the thing with feathers

That perches in the soul,

And sings the tune – without the words,

And never stops at all,

And sweetest in the gale is heard;

And sore must be the storm

That could abash the little bird

That kept so many warm.

I’ve heard it in the chillest land,

And on the strangest sea;

Yet, never, in extremity,

It asked a crumb of me.”

We fade back to EMMA and HENRY.

EMMA

She’s a smart girl.

HENRY

What is that?

MARY MARGARET looks up. She’s been sitting at a nearby table.

MARY MARGARET

Emily Dickinson. It’s a poem by Emily Dickinson, Henry.

EMMA

Do you think it’s true?

HENRY

Yes. (A beat.) But I think we have to be careful what we put our hope in.

EMMA

Like what Mr. Gold said?

HENRY

Yeah.

EMMA

Operation Cobra gives you hope, doesn’t it Henry?

HENRY

No. You do.

Emma is reeling. This is a heady thing to be told, and a great responsibility to shoulder. She locks eyes with Mary Margaret.

As the music continues we fade back into the MONTAGE. We hear MR. GOLD’S voice over:

MR. GOLD

“What though the sea with waves continual

Does eat the earth, it is no more at all;

Nor is the earth the less, or loseth ought :

For whatsoever from one place doth fall

Is with the tide unto another brought:

We see ERIC and VANESSA, happy. Suddenly a hand closes a curtain, cutting off our view of them.

CUT TO: INT. MIRANDA’S ROOM – NIGHT.

And we see that the hand belongs to MR. GOLD. He sits by MIRANDA – who is sleeping peacefully in bed. He hesitantly strokes her head (he hasn’t done this in a long time) and is reading to her from a BOOK: Edmund Spenser’s “The Faerie Queen.”

MR. GOLD

For there is nothing lost, but may be found if sought.”

He closes the book, and extinguishes a CANDLE.

BLACK.